Sims Reed Ltd

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L’Armurier de Bordeaux.

PRASSINOS, Mario. Prassinos, Gisèle. 8vo. (215 x 140 mm). Engraved colour frontispiece, additional collage title reproducing the collage for the wrapper and four engraved colour vignettes by Mario Prassinos. Loose in original brown paper wrappers with collage title to front wrapper, brown envelope with manuscript title to front cover. The original maquette for Giselle Prassinos' L'Armurier de Bordeaux. The maquette features extensive annotation on two sets of the text by the author, Giselle, and her brother, Mario, the illustrator. Although the publication for which this is the maquette was never realised, Gisèle Prassinos' L'Armurier de Bordeaux was written as early as 1936 and was eventually published in 1945 in the periodical Les Quatre Vents. Given the advanced state of the maquette - two sets of the text with extensive proofing notes by both Gisèle and Mario Prassinos as well as Mario's tipped-in illustrations in one of the sets - it is unclear why the work remained unpublished in book form, although speculation must centre on the upheaval during the final days of the world war. The short novel relates a rail journey to Bordeaux (it concludes with the line 'Tout le monde descend . ') and the dreams of the various passengers, shown in Mario Prassinos' characteristic illustrations, as they travel through the night and tunnels. Both of the Prassinos siblings were involved with Surrealism from the 1930s onward. Gisèle - who at an early age used an automatic writing technique - was introduced to André Breton and Paul Eluard by Mario. Her first collection of poetry La Sauterelle Arthritique was published in 1935 when she was fourteen under the aegis of Breton. Eluard wrote the forward for the collection and it included a portrait of various surrealists, read to by Gisèle, by Man Ray.
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fluxorchestra at carnegie recital hall sept. 25.

ONO, Yoko, et al. Folded sheet of greenish / yellow paper. (430 x 300 mm). Circular vignette printed 24 times across and down the page (6 x 4) with surrounding text, each vignette also with printed text. An excellent example of the scarce poster / announcement / programme by George Macunias for the fluxorchestra's September 25th, 1965 recital. The programme, designed by Maciunas and making use of the 'Mask' vignette he had used previously for the fluxshop / fluxorchestra manifesto, included works by La Monte Young ('1965 $50'), Yoko Ono's 'Sky piece to Jesus Christ' and '4 pieces for orchestra to La Motte Young', pieces by George Brecht, Chieko Shomi, Shigeko Kubota, Ben Vautier, Tony Cox, Robert Watts, and others. The fluxorchestra, costumed by Robert Watts (also on tuba), featured La Monte Young as conductor, Ayo on trumpet, a string section featuring Tony Cox and Yoko Ono, Jonas Mekas on accordion, 'Samurai Sword' as a special guest (presumably playing on Tony Cox's 'Sword Piece') and so on. 'During Yoko Ono's 'Sky Piece to Jesus Christ' (1965), at Carnegie Recital Hall, in New York, N.Y., members of the Fluxorchestra were wrapped in gauze as they performed. Eventually they were no longer able to operate as a unified body. When all the music was stilled, the musicians, bound together, left the stage together.' (Encyclopedia Britannica). We can locate examples at the Walker Art Center, Detroit Institute of Arts, National Gallery of Victoria and Northwestern; a note for the Northwestern copy indicates it was folded to form a paper airplane. A note for the Fondazione Bonotto suggets that it was the flyer - similar to the present sheet but without the surrounding text - that was used to make the airplanes that formed part of the performance.
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La Belle en Dormant.

MARCOUSSIS, Louis. Hugnet, Georges. 8vo. (192 x 148 mm). [38 leaves; pp. 66, (i), (i)]. Half-title with 'Du Même Auteur' verso, leaf with original monochrome etching by Louis Marcoussis verso as frontispiece, printed title with copyright verso, leaf with dedication, inserted leaf with '' by Hugnet and Hugnet's verse, final leaf with justification. Full tan calf by Daniel-Henri Mercher with his signature and dated 1994, front and rear boards with onlaid sections of abstract-shaped mauve calf with black striation over turquoise silk with a floral décor, smooth spine with direct title in turquoise and magenta, turquoise silk floral doublures, matching watered silk endpapers, original printed yellow wrappers and backstrip with titles preserved, tan calf-backed turquoise paper board chemise with titles to spine and matching slipcase. An excellent copy of the édition de tête bound by Mercher and with Marcoussis' original frontispiece. From the edition limited to 510 numbered copies, with this one of 10 from the édition de tête on Japon Ancien signed in black ink by Georges Hugnet and with the original etching as frontispiece by Louis Marcoussis. Also included tipped-in to the blank following the printed dedication is a poem by Georges Hugnet. Executed in black ink the poem is not included in 'La Belle en Dormant': 'Mémoire, je viens boire à la source / où s'abreurent de jeunes géographies. / Les dentelles perdues reviennent ceindre / la cuisse de la femme oeil de chat. / Pays aux noms inoubliés, je vous apprends / si je veux savoir d'où je viens. / Une pioche oubliée à l'origine d'une plainte, / un écho qui cherche une parole à travers l'absence, j'attrape au vol ce qui se continue. / La poésie vient en dormant. Et toi?' Also included, tipped-in to the final blank, is the folded subscription sheet for the book.
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Les Conjurés.

ASSE, Geneviève. Borges, Jorge Luis, (Silvia Baron Supervielle, Trans.). Large 8vo. (280 x 190 mm). [30 leaves + additional inserted leaf with painting]. Half-title, printed title, leaf with Borges' 'Inscription', leaf with Borges' 'Prologue' dated ''9 janvier 1985' recto and first poem verso and Borges' verse illustrated with 10 original pochoir illustrations (11 including the wrapper) in scarlet ink after her original paintings (one is on a trifolium with text on the left and right hand leaves, a central illustration and a further illustration on the folding leaf with a tear as issued to allow the image beneath to bleed through), leaf with copyright verso, final leaf with achevé d'imprimer and justification', a final inserted leaf includes an original signed oil painting - as called for - by Asse; sheet size: 276 x 180 mm. Text and illustration mounted on guards throughout. Book and maquette printed on vélin d'Arches. Full scarlet polished calf by Monique Mathieu with her signature in blind and dated 1992, front and rear boards with asymmetric excision with additional onlays of patterned morocco (or lizardskin?), front board with onlaid section of calf bisectin the lower section of the board and additional onlais section tinted lizardskin at upper right, bisected spine with additional olaid fillet and title in blind, matching doublures, grey brushed suede endpapers, original publisher's plain wrappers with pochoir illustration in red to front cover and backstrip preserved, matching grey suede-lined scarlet calf-backed chemise with spine to match that of book with titles in grey and matching scarlet calf-edged grey paper board slipcase. A superb copy of the édition de tête of Geneviève Asse's 'Les Conjurés' with an original signed painting on paper and bound by Monique Mathieu together with the original maquette for the book with all of Asse's original paintings including several trials and an unused painting. From the edition limited to 120 numbered copies illustrated with 11 pochoirs, signed by Asse and Supervielle in pencil, with this one of the first 20 copies including a signed 'huile sur papier' by Asse; an additional 12 hors commerce copies numbered in Roman numerals were also issued for the 'collaborateurs'. Asse's original 'huile sur papier' painting is a single brush stroke in scarlet paint to the centre of a leaf (272 x 160 mm) and is signed at lower right by Asse in pencil; the verso is annotated 'Huile sur papier G. A. / les conjurés'. 'Les Conjurés', Borges? (1899 - 1986) final verse collection was published in Spanish as ?Los Conjurados? (?The Conspirators? in English) in the year before his death. The collection features 40 poems and prose poems by Borges (the 'Inscription' and the 'Prologue' aside). ?Le livre ?Les Conjurés?, de Borges, a été entièrement rehaussé de pochoirs rouges, ce qui n?est pas commun chez moi. J?eus le désir d?accompagner ses dernier poèmes d?une sorte de fulguration, en m?inspirant du ?Chant des Morts?, ce livre unique, admirable, où le poème de Reverdy, calligraphié de sam main, est traversées rouge sang de Picasso.? (Asse quoted by Marie-France Quignard, 2002). 'Rouge pour le livre de Borges . un format moyen, plutôt étroit, et un caractère typographique classique dont le but véritable était de se faire oublier afin de privilégier la lecture . Les pochoirs réalisés . traduisent merveilleusement les onze huiles rouges faites par Geneviève Asse . Traits plus ou moins épais, bordures plus ou moins larges, plus ou moins intenses. Pas de monochromie. Du velouté, de la brume de rouge, des tressaillements, des irrégularités délibérées dans le tracé . '. (Marie-Françoise Quignard). ?From the 1980s onwards, red regularly finds its way into her [Asse?s] paintings in the form of fleeting lines following the slashes of light cut into the walls of blue or occasionally outlining their edges. Unlike the whites, however, red never truly challenges the supremacy of the blues. In all the artist?s work, with the noteworthy exception of eleven monochrome stencils designed in 1990 as illustrations to ?Les Conjurés? (The Conspirators) by Jorgé Luis Borgès 11, it is only in the sketchbooks and leporelli that the reds are allowed such a degree of freedom.? (Christian Briend). The original maquette, with all of Asse?s eleven original paintings for the illustration, reproduced in pochoir for the book, is a remarkable document of her process, creative thought and engagement with Borges? verse. This maquette includes all of the final versions of the eleven paintings for reproduction, together with an additional original painting, and several of those paintings that were used feature additional trials and versions verso. It is clear from a close comparison of this maquette and the published book that only those pages that included illustrations had not been finalised at the time the maquette was produced, the absence of any bifolia without illustration in the present maquette indicating that this was the final specimen; if a complete ?bon à tirer? version was produced it would have included the illustrations in their pochoir version. The maquette also presents a remarkable window into Asse?s personal philosophy vis à vis her use of colour and its interaction - in this case a rare use by her of red, inspired directly by Picasso?s use of the same for Reverdy?s ?Le Chant des Morts? published by Tériade in 1948 - with the blank page and the printed text. If Asse was inspired by Picasso?s illumination for Reverdy?s poem, her work is certainly in no way derivative and the book is indubitably, even if sui generis, her own. As stated above, this maquette includes all of Asse?s paintings for the book as well as a final highly finished work that was never used but is entirely in keeping with the corpus of illustration. Full details of the maquette are available on request. [Miessner / Quignard XVIII; Mason 323 - 333; see ?Geneviève Asse: La Pointe de l?Oeil? by Marie-Françoise Quignard, 2002, pp. 37 - 38; see ?Peindre en Carnets? by Christian Briend, 2013
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Al-Qur’an Al-Karim.

QUR'AN / KORAN. 8vo. (175 x 120 mm). [2 blank leaves, 323 leaves, 2 blank leaves]. First leaf verso and second leaf recto with 'Bismillah' and opening, seven lines in black ink in naskh script with diacritics in red within triple-framed compartments, gilt foliate decoration against a lapis background above and beneath containing gilt cartouches with sura headings and verse counts in white tawqi', the margins with decorative work in blue, and 323 leaves with manuscript text in black ink in naskh, 13 lines per page within triple rules in gilt, black and blue with catchwords, verse divisions (and corrections) marked with circular gilt motif throughout with sura headings and marginal hizb and juz' divisions in gilt, final leaf verso with gilt flecking and colophon. Manuscript text in Arabic on burnished laid paper throughout with numerous cancels in gilt, occasional marginal and interlinear corrections, occasional additions, some staining and soiling. Contemporary dark chocolate morocco with flap, boards with gilt decorative frame borders to surround elaborate gilt decorative arabesque stamped panels with central arabesque and cornerpieces with floral decoration, red morocco doublures ruled in gilt with central floral vignettes. A complete 16th-century Ottoman manuscript Qur'an, the elegant production of Hasan ibn 'Abdallah. This small and unusual Qur'an, very likely intended for the personal use of the calligrapher, Hasan ibn 'Abdallah, epitomises the restrained elegance of the scribal ateliers of contemporary Istanbul and the continuing influence of the master, Sheikh Hamdullah. The lack of an inscription, seal or attribution, in combination with the small format and simplicity of the present work suggest that it was produced by the calligrapher for personal use. Although no Hasan ibn 'Abdallah is recorded in 'Manaqib-i hunar waran' (Epic Deeds of Artists, the earliest survey of Ottoman calligraphers, painters, illuminators and so on), a Hasan ibn 'Abdallah is known to have illuminated two Qur'ans copied by Sheikh Hamdullah in the early years of the century. While a long period of time separates the Sheikh Hamdallah associated Hasan ibn 'Abdallah and the scribe for the present copy, several distinctive features suggest it is not implausible that this Qur'an is the work of the same individual: an uncommonly large number of cancels feature in the text - all carefully corrected with liquid gold - although the manuscript is by no means slovenly. The earlier Hasan ibn 'Abdallah is known to have been both a diligent editor and an error-prone copyist and the argument that a novice or apprentice would lavish (or be permitted to!) such an amount of gold on his text bears no weight. That the manuscript is the work of an elderly scribe, enacting a very personal virtuous devotion to his religion toward the end of his life, is rather more plausible.
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Varia de Commensuracion para la Esculptura y Architectura.

ARPHE (Arfe) y Villafañe, Joan de. Small folio. (316 x 218 mm). [148 leaves; foliated at upper right with occasional misfoliation: (6), 35, (1); 48, (2); 14; 40, (2)]. Collation: §6, A6 - F6; a6 - g6 (e missigned c), h8; Aa8, Bb6; Aaa6 - Ggg6. Printed title with elaborate woodcut arms of the dedicatee, Pedro Giron, Duke of Ossuna (Osuna), verso with oval vignette portrait of the author and dedicatory sonnet by Luis de Torquemada, leaf with 'Licencia' dated December 24th, 1584 recto and de Arfe's dedication to the Duke of Osuna verso, two leaves with 'A los Lectores' and 'Carmen', two leaves with 'Prologo' and 'Libro Primero' to 'Libro Quarto' of de Arfe's text (with his mnemonic verse) illustrated with 285 woodcuts (235 vignettes keyed to the text and 50 full-page plates, mathematical tables in Book I, Part II), de Arfe's woodcut arms to title of each Book, woodcut tail-piece to conclusion of each Book, 'Tabla' for Books I and II at conclusion of each, those for Book III and IV at the conclusion of Book IV, printed text in Spanish in italic and roman types throughout. Occasional annotations in sepia ink in an early hand, some minor soiling and staining, occasional repairs with no loss, marginal repairs to outer margins of final four leaves. Later Italian (?) thick interim card wrappers, manuscript titles to spine in sepia. The first edition of Juan de Arfe's very scarce, comprehensive and influential treatise, De Varia Commensuracion, signed by de Arfe at the foot of the title. 'The most comprehensive Spanish sixteenth-century work on sculpture and architecture is that by Juan de Arfe y Villafañe . '. (Hanno-Walter Kruft). Juan de Arfe y Villafañe (Leon 1535 - Madrid 1600) was the son and grand-son of artists, an accomplished sculptor, anatomically-trained artist, metal-worker and architect, not to mention a highly important and influential theorist. de Arfe?s first major printed work ?Quilatador de la Plata, Oro, y Piedras? of 1572, is a notable text on the assay of metals (in particular silver and gold) and the valuation and assessment of gems, however, it is this later work of 1585, the ?De Varia Commensuracion para la Esculptura, y Architectura?, with its debts - acknowledged or not - to Leonardo, Serlio, Dürer and Vasari that ensured his enduring legacy as the ?Spanish Cellini? Divided into four books, each again divided into sub-sections (see below), the ?De Varia Commensuracion? is an artistic and scientific tour de force that marks de Arfe as an emblematic figure of the Spanish Renaissance. Richard Ford described de Arfe as ?the greatest artist of his family? and ?the Bezaleel of the Peninsula? (after Moses? artisan of the Tabernacle and overseer of the making of the Ark of the Covenant) and ?the Cellini of Spaniards? Each of de Arfe?s four books demonstrate his credentials as a pioneering Renaissance figure: his familiarity with the works of Euclid (translated into Spanish by de Arfe?s contemporary and friend Rodrigo Zamorano) is demonstrated in his ?Libro Primero: Trata de las Figuras Geometricas &c.?, and his familiarity with navigation is demonstrated by a series of mathematical / navigational tables relating to Spain and her surrounds, astronomical instruments, their uses and so on. The ?Libro Secundo: Trate de la Proporcion? is indebted not only to Dürer and his ?Hierin sind Begriffen vier Bücher von Menschlicher Proportion? (1528) but also to the anatomical drawings of Leonardo. In a series of woodcut plates, de Arfe delineates the body, ?representing outlines of the whole body or of single parts with the measurements? (Choulant) including the body of a woman - de Arfe describes the essentials for a beautiful female body - and the proportions for a child. The affinities between de Arfe?s woodcuts and Leonardo are clear, however, what is less clear is their transmission. It is known that Pompeo Leoni acquired the majority of Leonardo?s writings and drawings, or at least those left to his father, Francesco, from Orazio Melzi in the 1580s while Leon
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Futurisme – Cubisme.

SEVERINI, Gino. 4to. (270 x 210 mm). [2 leaves]. Manuscript text in French in blue ink, concluding in black, recto and verso with occasional excision and correction in pencil on cream wove paper with the watermark 'EXTRASTRONG', text with title to initial leaf, numbered at upper right and signed at conclusion. Autograph manuscript by Gino Severini contrasting and comparing Futurism and Cubism and making reference to Seurat, Blake, Baudelaire, Apollinaire and Matisse. One of the leaders of Italian Futurism and an important theoretician of the technicalities of painting in his own right, Gino Severini, writes here of Futurism and Cubism, its interprenetrating relationship, its derivations and inspirations and its place in a wider artistic context. The MSS starts with Severini's arrival in Paris together with Modigliani in 1906: 'Au temps de notre jeunesse, lorsque Modigliani et moi . arrivâmes à Paris, les idées n'etaient pas très claires pour personne . '. He discusses the differences between the two movements, their similarities and Blake's 'The Marriage of Heaven and Hell': 'Cette opposition m'a beaucoup torturé l'esprit, je l'avoue, mais j'ai trouvé depuis, dans W. Blake, une consolation: 'Sans contraires il n'y a pas de progrès', dit-il, dans ses: 'Proverbes de l'Enfer''. After a discussion of the beginnings of both movements, their reception and importance (he compares this to the discovery of perspective), he concludes with the lines: 'En conclusion, et selon moi, on ne peut opposer ces deux mouvements, même si leur points de départ s'opposent; je soutiens cette idée (qu'Apollinaire et ensuite Matisse ont approuvée) . la poésie [underlined] était le contenu et la raison d'étre de l'art.' This discrete manuscript by Severini appears to be unpublished. Although it certainly has a bearing on his technical, analytical and historical essay 'Du Cubisme au Classicisme' of 1921 we can find no published version in French or Italian.
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La Belle Dame sans Merci.

ERAGNY PRESS). Keats, John. 12mo. (80 x 110 mm). [20 leaves + tipped-in errata leaf; pp.xxviii, (1), (1)]. Hlaf-title with printed title in red and black within patterned frame and with vignette verso, six leaves with Keats' verse, leaf with explanatory text, six leaves with an alternate version of Keats' verse, leaf with colophon and final leaf with justification; opening of each version with large decorative initial in red and elaborate frame in red, printed text throughout in red and black with decorative text ornaments. Original publisher's blue paper-backed patterned paper-covered boards with white label with printed title to upper cover. An excellent copy of the Eragny Press edition of Keats' 'La Belle Dame Sans Merci' with its variant. From the edition limited to 210 copies. The two versions of 'La Belle Dame Sans Merci' printed here feature differences and 'variations [that] are very considerable'. Buxton Forman, whose explanation is printed in the book, thought that 'the 'Indicator' version is a revision of the other' and that an unpublished manuscript version was the source. With a letter from Lucien and Esther Pissarro to Harold Pierce of Philadelphia asking him to return the copy as ' . we have discovered a serious mistake in the title page. We have started to reprint and the binders will insert the corrected page. If you will kindly return your copy . '. The mistake was in the date on the title but this copy of the book was not returned but has a erratum page.